FADO E-LIST (January 2017)

Dear FADO friends, 

Happy New Year!

FADO's MONOMYTHS series continues in January with Stage 9 by Marilyn Arsem (January 13, see #1). In February, we present Stage 10 by Serena Lee, Stage 11 by claude wittmann, Stage 12 by Nao Bustamante, Stage 13 by Staceyann Chin, and Stage 14 by Tanya Mars (February 15–19, see #2–6).

These final performance projects will bring the year-long epic MONOMYTHS series to a close. Thanks to all the artists, our many partners, and the audiences who have made this series so rewarding (and epic!). We look forward to sharing the final stages of the journey with you.

x, fado



1. MONOMYTHS STAGE 9: Apotheosis/Journey to the Inmost Cave
Waiting for Sunrise by Marilyn Arsem
Date: January 13–14, 2017
2. MONOMYTHS STAGE 10: The Road Back
Rise and Fall by Serena Lee
Date: Wednesday, February 15, 2017
3. MONOMYTHS STAGE 11: Refusal of the Return
2894: Refusal of MONOMYTHs by claude wittmann
Date: Thrusday, February 16, 2017
4. MONOMYTHS STAGE 12: Mistress of Two Worlds
Silver & Gold by Nao Bustamante
Date: Friday, February 17, 2017
5. MONOMYTHS STAGE 13: Freedom To Live
FADO and Rhubarb Festival present Staceyann Chin
Date: Saturday, February 18, 2017
6. MONOMYTHS STAGE 14: The Return Home
CRONE by Tanya Mars
Date: Sunday, February 19, 2017


7. CALL FOR SUBMISSIONS: Theatre Passe Muraille’s Crapshoot
Deadline date: January 5, 2017; City: Toronto, Canada; Source: Brian Postalian
8. CALL FOR SUBMISSIONS: Rencontre interuniversitaire de performance actuelle (RIPA)
Deadline date: January 5, 2017; City: Montreal, Canada; Source: RIPA
9. EVENT: A Collection of Photographs and Relics from People Who Perform
Date: January 6–18, 2017; City: Victoria, Canada: Source: John G. Boehme
10. CALL FOR SUBMISSIONS: Science Gallery / Blood
Deadline date: January 8, 2017; City: Melbourne, Australia; Source: LADA
11. PERFORMANCE: The Magic Hour by Jess Dobkin
Dates: January 10–21, 2017; City: Toronto, Canada; Source: Jess Dobkin
12. CALL FOR PROPOSALS: Global Performance Studies Issue 1.2 “Performance Climates”
Deadline date: January 15, 2017; City: the world; Source: PSi
13. CALL FOR ARTISTS: Community Arts Project for Asylum Seekers
Deadline date: January 15, 2017; City: Kuopio, Finland; Source: ANTI
14. RESIDENCY PROGRAM: Luminous Bodies
Deadline date: January 16, 2017; City: Toronto,Canada; Source: Luminous Bodies
15. EVENT: Bridget Moser performs at PuSh Festival
Date: January 21, 2017; City: Vancouver, Canada; Source: Push Festival
16. EVENT: Duration & Dialogue II
Dates: January 27–29, 2017; City: Toronto, Canada; Source: D&D
17. CALL FOR SUBMISSIONS: Festival of Queer Performance
Deadline date: February 1 & April 1, 2017; City: Regina, Canada; Source: QCC
18. PUBLICATION: Viz. Inter-Arts: Interventions
Date: unspecified; City: the world; Source: Natalie Loveless
19. PUBLICATION: Ritual Body-Political Body (II Venice Performance Art Week)
Date: unspecified; City: the world; Source: VestAndPage


: Apotheosis/Journey to Inmost Cave
Date: January 13–14, 2017; City: Toronto, Canada; Source: FADO

FADO Performance Art Centre presents MONOMYTHS
Stage 9
: Apotheosis/Journey to the Inmost Cave

Waiting for Sunrise
by Marilyn Arsem

Start: Friday, January 13 @ 5:04pm
End: Saturday, January 14 @ 7:48am

Gladstone Hotel's Art Hut, 1181 Queen Street West, Toronto
Admission: by donation; at the door only

Facebook: www.facebook.com/events/2026747497552085/

Apotheosis (from Greek "to deify"; in Latin deificatio "making divine"; also called divinization and deification) is the glorification of a subject to divine level. The term has meanings in theology, where it refers to a belief, and in art, where it refers to a genre. In theology, apotheosis refers to the idea that an individual has been raised to godlike stature. In art, the term refers to the treatment of any subject (a figure, group, locale, motif, convention or melody) in a particularly grand or exalted manner.

"In this stage of the journey, the inmost cave may represent many things in the Hero's story such as an actual location in which lies a terrible danger or an inner conflict which up until now the Hero has not had to face. As the Hero approaches the cave he must make final preparations before taking that final leap into the great unknown. At the threshold to the inmost cave the Hero may once again face some of the doubts and fears that first surfaced upon his call to adventure. He may need some time to reflect upon his journey and the treacherous road ahead in order to find the courage to continue. This brief respite helps the audience understand the magnitude of the ordeal that awaits the Hero and escalates the tension in anticipation of his ultimate test."

Sponsored by The Gladstone Hotel.

Marilyn Arsem has been creating live events since 1975, ranging from solo performances to large scale, site-specific works incorporating installation and performance. Arsem has presented work at festivals, alternative spaces, galleries, museums and universities in North and South America, Europe, the Middle East, and Asian. She recently completed a 100-day performance at the Museum of Fine Arts, Boston (2016). Many of her works are durational in nature, and minimal in actions and materials. Created in response to the site, they engage with the immediate landscape and materiality of the location, its history, use, or politics. The performances often hover at the edge of visibility, creating an experience in which the viewer must stretch her or his perceptual capacities to their furthest limits. She is a member (and the founder) of Mobius, Inc., a Boston-based collaborative of interdisciplinary artists. She taught at the School of the Museum of Fine Arts, Boston for 27 years, establishing one of the most extensive programs internationally in visually-based performance art.

MONOMYTHS invites a diverse collection of artists, scholars, and activists to revise Joseph Campbell’s conception of the hero’s journey through performance art, lectures, workshops, and other offerings. This new assemblage of non-linear un-narratives proposes a cultural, political and social feminist re-visioning of the world. The MONOMYTHS perception of the universal journey dispels the notion of the lone patriarchal figure on a conquest to vanquish his demons–both inner and outer–in consideration of community, collectivity, and collaboration.  

Joseph Campbell’s influential book, The Hero with a Thousand Faces (1949) prescribes a common pattern to all of the world’s mythic narratives. According to this fundamental structure, the archetypal hero is challenged to embark on a monumental quest. Over the course of the hero’s journey, trials and obstacles must be overcome until a victory is won and the hero returns home with new knowledge about himself and the world. Campbell’s concept of the monomyth (‘one myth’) is a recognizable motif in both ancient mythology and contemporary culture, including film, music, literature, sports, and advertising. A current trend in popular visual culture replaces the male character with a female one, in spite of the fact that our heroine–from the get-go–would make different choices if the conditions, and conditioning, allowed. While each MONOMYTHS stage stands alone, the work of each presenting artist is interdependent and connected. These independent visions, when stitched together through the audience’s collective presence, form an exquisite corpse of a larger experimental narrative. 

The year-long MONOMYTHS project is presented in three sections starting in February 2016 and concluding in February 2017. The series is conceived and curated Jess Dobkin and Shannon Cochrane.

Part 1 (February 3–7, 2016)
Stage 1: The Ordinary World/Call to Adventure
Stage 2: Refusal of the Call
Stage 3: Meeting of the Mentor
Stage 4: Crossing the Threshold
Stage 5: Belly of the Whale

Part 2 (May 2016–January 2017)
Stage 6: Tests, Allies, Enemies
Stage 7: Ordeals
Stage 8: Atonement with the Father/State
Stage 9: Apotheosis/Journey to the Inmost Cave

Part 3 (February 15–19, 2017)
Stage 10: The Road Back
Stage 11: Refusal of the Return
Stage 12: Mistress of Two Worlds
Stage 13: Freedom to Live
Stage 14: The Return Home



2. MONOMYTHS STAGE 10: The Road Back
Date: February 15, 2017; City: Toronto, Canada; Source: FADO

FADO Performance Art Centre presents MONOMYTHS
Stage 10
: The Road Back

Rise and Fall
by Serena Lee

Wednesday, February 15, 2017 @ 8pm
The Theatre Centre, 1115 Queen Street West

Tickets:  Regular $15 | Student/senior/arts worker $12
Service charges may apply. Limited seats available. Wheelchair accessible.
Book 416-538-0988 | PURCHASE ONLINE (Tickets on sale in January)

Rise and Fall is a performance and collective exercise on the desire for inevitability, on how the return is narrated. A mutant reading group: we will create a model by weighing things–thoughts, images, and otherwise.

The first part is called Exposition.
Here, the key idea is introduced, the character established, giving us the main melodic line, the voice to follow. We set out along the path of its making.

The second part is called Development.
Here, we find ourselves getting lost, having followed the voice, the key idea, as it veers off into unpredictable territory: shadowy undergrowth, tangled density, change to a minor key, etc. A narrative device to create tension and interest, verging on dissolution.

The third part is called Recapitulation.
Here, we have regained our orientation and found our footing in the familiar. The compounded tension yields the reward of resolution, now that we have cleared the unknown and are following the path that, we expect, will take us home.  

We will not call it progress. How to describe the movement?

Serena Lee is an artist and researcher from Toronto. Layering forms, she maps power, perception, and belonging through polyphonic models. Serena practises, presents, facilitates, and collaborates internationally; she works in education and holds an MFA from the Piet Zwart Institute in the Netherlands and an Associate Diploma in Piano Performance from the Royal Conservatory of Music.


3. MONOMYTHS STAGE 11: Refusal of the Return
Date: February 16, 2017; City: Toronto, Canada; Source: FAD

FADO Performance Art Centre presents MONOMYTHS
Stage 11
: Refusal of the Return

2894: Refusal of MONOMYTHs
by claude wittmann

Thursday, February 16, 2017
The Theatre Centre, 1115 Queen Street West

Tickets:  $10 donation (tickets at door only)

2894 by claude wittmann asks participants to read outloud from the Truth and Reconciliation Commission's report (TRC report, 2015.) Each participant reads the report to a live streaming radio station with the aid of a cell phone and streaming software provided by the artist. Readers start where the last one left and read as much as they want. Sometimes the readings take place in a specific location, but mostly, participants may read anywhere they choose–in their homes, or in public. Participants read as much or as little as they can. Listeners can similarly be anywhere, listening on any device at any time. The connection of the radio provides a special kind of intimacy between readers and listeners. This project started in April 2016. It is on-going, until the entire report (all 2894 pages) has been read or until the project transforms into something more relevant to social change. 2894 is not a Truth and Reconciliation project. It is a Truth project. It is currently co-managed by claude wittmann and Adam Herst.

In 2894: Refusal of MONOMYTHs, claude and Adam facilitate a 3-hour reading session. Audience is invited to attend to listen to readings of the report. Audience is invited to become readers should they wish to. Readers read as much or as little as they choose, to the assembled audience of witnesses.

claude wittmann was born in Switzerland where he worked as a molecular biologist and now lives in Toronto; works as a bicycle mechanic and in performance art; has performed in festivals, in curated events, in self-produced pieces, and in the public space; in butoh-based solos, in intent-based durational process work, in body-directed although very psychological gender identity work, in improvised voice/noise/sound experiments and improvisations, during teaching and on live FM and internet radio. his most recent projects include Radio-Equals (one-on-one egalitarian conversations about equality, broadcast on FM radio and/or internet radio) and 2894 (participative reading on an internet radio of the Truth and Reconciliation's Commission report). claude is concerned by the (in)ability of art in triggering social change. www.claudewittmann.ca


4. MONOMYTHS STAGE 12: Mistress of Two Worlds
Date: February 17, 2017; City: Toronto, Canada; Source: FADO

FADO Performance Art Centre presents MONOMYTHS
Stage 12: Mistress of Two Worlds

Silver & Gold
by Nao Bustamante

Friday, February 17, 2017 @ 8pm
The Theatre Centre, 1115 Queen Street West

Tickets: Regular $15 | Student/senior/arts worker $12
Service charges may apply. Limited seats available. Wheelchair accessible.
Book 416-538-0988 | PURCHASE ONLINE (Tickets on sale in January) 

Silver & Gold combines film, live performance, and original costumes into a hyrbid work that Nao Bustamante proclaims a "filmformance". In this filmformance, Bustamante evokes the muse of legendary filmmaker Jack Smith and his tribute to 1940s Dominican movie starlet Maria Montez in a magical and joyfully twisted exploration of race, glamour, sexuality, and the silver screen.

The performance alternates between action and live narration of a film projection. In the film, inspired by iconic underground filmmaker Jack Smith, Bustamante interprets Smith's muse: 1940s Dominican movie starlet Maria Montez. Honing-in on Smith's interest in Hollywood's obsession with filmic reproduction of the exotic, Bustamante embodies Miss Montez. Using video, live voiceover, audience interaction, and the body as a source of backdrop, narrative, and emotion, she takes the spectator on a bizarre and radical journey as she discovers a new bejeweled body part, which is at once her curse and oracle. This performance is the fruit of a commission by the LIVE FILM/ Jack Smith festival, co-organized by Arsenal Institute for Film and Video Art and Hebbel-am-Ufer Theater (HAU) in Berlin. 

Nao Bustamante is an internationally known artist, originally from the San Joaquin Valley of California; cutting her teeth as an artist in the San Francisco "Art Scene" between 1984-2001. She attended San Francisco Art Institute, where she fell under the influence of the notorious New Genres Department. Bustamante’s at times precarious and radically vulnerable work encompasses performance art, video installation, visual art, filmmaking, and writing. Bustamante has presented in Galleries, Museums, Universities and underground sites all around the world. She has exhibited, among other locales, at the Institute of Contemporary Arts in London, the New York Museum of Modern Arts, Sundance 2008, 2010, and the Kiasma Museum of Helsinki. Her movies have been shown at venues and festivals across the globe, including OUTFEST – Los Angeles Gay and Lesbian Film Festival, MIX New York City, MIX Brasil, and the London Gay and Lesbian Film Festival. Bustamante is popularly known for her appearance in the Bravo Network television show A Work of Art: The Next Great Artist, where she made her mark as a messy and complex character.


5. MONOMYTHS STAGE 13: Freedom To Live
Date: February 18, 2017; City: Toronto, Canada; Source: FADO

FADO Performance Art Centre presents MONOMYTHS
Stage 13: Freedom to Live

Staceyann Chin
Saturday, February 18, 2017 @ 10:00pm

Wednesday to Sunday: $20 Evening/Day Pass (Your ticket grants you access to all of the performances on a given day.)
Rush Ticket Policy: PWYC (limited to 10 tickets per day Thurs-Sun max 2 per person)
Box Office 416-975-8555 or http://buddiesinbadtimes.com/rhubarb

FADO Performance Art Centre and the 38th Rhubarb Festival are proud to welcome Staceyann Chin's unique voice back to the stage at Buddies in Bad Times Theatre. 

This is a rare opportunity to experience the powerful and provocative work of Staceyann Chin, an out spoken-word poet and LGBT rights and political activist. Her work has been published in The New York Times, The Washington Post, and the Pittsburgh Daily; and has been featured on 60 Minutes and The Oprah Winfrey Show. In 2015, she was named by Equality Forum as one of their 31 Icons of the 2015 LGBT History Month.

In her performance for MONOMYTHS, Chin weaves excerpts from her 2015 solo performance Motherstruck! with new thoughts and words ruminating on survival and action strategies for living in the current political situation in the USA as an intersectional life-term activist. 

To watch Chin perform is to watch the very essence of poetry manifested: her performances are imperfect, volatile and beautiful. Chin's poetry is passionate and well-written, sure; but it's her ability to communicate that passion in performance that is unparalleled. She becomes the poetry. ~Cristin O'Keefe Aptowicz, author

Staceyann Chin is presented by FADO Performance Art Centre as a part of
Presented by Buddies in Bad Times Theatre

February 15–26, 2017
Festival Director Mel Hague
Festival Sponsor TD Bank Group
Wednesday–Saturday, 8PM; Sunday 2:30PM

Staceyann Chin is a spoken-word poet, performance artist, and activist. She is of Chinese-Jamaican and Afro-Jamaican descent and her work often discusses her struggles of growing up as lesbian and multiracial in Jamaica. She uses her work to question the oppression and the limitations of identity, race, class, sexuality and belonging. Her work has been profiled in more than 21 newspapers, journals and magazines such as the New York Times, the Washington Post, the Guardian and the Pittsburgh Daily and her poems can be found in numerous publications. She has been interviewed and featured on CNN, 60 Minutes and the Oprah Winfrey Show as well as several other cable network television programmes. She is the author of The Memoir: The Other Side Of Paradise.


6. MONOMYTHS STAGE 14: The Return Home
Date: February 19, 2017; City: Toronto, Canada; Source: FADO

FADO Performance Art Centre presents MONOMYTHS
Stage 14: The Return Home

by Tanya Mars

Sunday, February 19, 2017
The Theatre Centre, 1115 Queen Street West

Tickets:  $10 donation (tickets at door only)

CRONE, the latest durational performance by Tanya Mars looks at how superstition and myth intertwine. In keeping with her recent performance strategy, Mars will create an atmospheric work that combines visually rich layers of spectacular, satirical feminist imagery with light and sound.

A revered matriarch of the Canadian performance art community, it is fitting that Mars offers the conclusion to the year-long epic MONOMYTHS journey, illuminating Stage 14: The Return Home.

Tanya Mars is a feminist performance and video artist who has been involved in the Canadian art scene since 1973. She was a founding member and director of Powerhouse Gallery (La Centrale) in Montreal (the first women’s art gallery in Canada), editor of Parallelogramme magazine for 13 years, and very active in ANNPAC (the Association of National Non-Profit Artist-run Centres) for 15 years. Her work is often characterized as visually rich layers of spectacular, satirical feminist imagery. She has performed widely across Canada, in Valparaiso, Chile, Mexico City, Sweden, France and Helsinki. She is co-editor with Johanna Householder of Caught in the Act: an anthology of performance art by Canadian women (2004), and More Caught in the Act (2016), both published by YYZ books and partners. She is also a member of the 7a*11d Collective (established in 1997) that produces a bi-annual International Festival of Performance Art in Toronto. She currently teaches performance art and video at the University of Toronto Scarborough and is part of the graduate faculty of the Master of Visual Studies Program at the University of Toronto. She is the recipient of a 2008 Governor General’s Award in Visual and Media Arts.


7. CALL FOR SUBMISSIONS: Theatre Passe Muraille’s Crapshoot
Deadline date: January 5, 2017; City: Toronto, Canada; Source: Brian Postalian

Apply to Theatre Passe Muraille’s February 10th Crapshoot!
Crapshoot is an opportunity for emerging artists in the early stages of their careers to develop and showcase new work. Selected artists are given ten minutes to perform on TPM’s Cabaret Stage for an audience. At the end of each night an invited artistic panel will vote for their favoured performance and that artist/collective is granted 8 hours of time in TPM’s rehearsal hall and is invited to perform in a featured slot for up to twenty minutes at the following Crapshoot.

Submit your application here: http://tinyurl.com/hopybxp


Theatre Passe Muraille
16 Ryerson Avenue
Toronto, Canada


8. CALL FOR SUBMISSIONS: Rencontre interuniversitaire de performance actuelle (RIPA)
Deadline date: January 5, 2017; City: Montreal, Canada; Source: RIPA

The Rencontre Interuniversitaire de Performance Actuelle (RIPA) is inviting university-level student artists (Current or recently graduated), from Quebec and neighbouring provinces and states, to submit a proposal for its next performance evening which is to be held in April 2017 in Montreal. Here attached the call for submissions.

Send your application in ONE PDF FILE to the following email address: ripa.contact@gmail.com (Contact: Oriane Asselin Van Coppenolle)

Deadline: January 5, 2017 at 11:59 pm
No applications will be accepted after this date. Incomplete applications will not be forwarded to the selection committee.

For an overview of past editions or to find out more about RIPA, please visit our website and our Facebook page: www.facebook.com/RIPA.performance.actuelle



9. EVENT: A Collection of Photographs and Relics from People Who Perform
Date: January 6–18, 2017; City: Victoria, Canada: Source: John G. Boehme

A Collection of Photographs and Relics from People Who Perform
January 6–18, 2017

Event Opening: January 6 @ 8pm

The fifty fifty arts collective
2516 Douglas St., Victoria, British Columbia V8T 4M1

A Collection of Photographs and Relics runs from January 6th to Sunday, January 22nd with performances occurring on January 6th during the opening, and on Saturday, January 21st at 3pm. 

OPEN ACTION is a collective of performance artists based in Victoria, BC, Canada, dedicated to site-specific actions performed in public spaces. 

Since 2010, once a month, OPEN ACTION artists meet at a pre-selected site to perform simultaneous individual actions. Each artist responds independently to the site’s compressed layers of history, material evidence, pedestrian activity, aural and visual phenomena and unforeseen elements, all filtered through her or his evolving sensibilities and practices. The nuances of the individual actions intersect with one another in unplanned and surprising ways, inviting the casual observer to consider what is taking place and how they are implicated, or not, in the actions performed. This process becomes the grit that fuels individual performances as well as the evolution of the collective as it deposits the aura of its interventions into the ever-changing fabric of the public space.

OPEN ACTION is an open invitation to any artist in the community, and through the act of witnessing, to any observers, to experience and embody a common responsibility towards being engaged, being critical, and being open to the possibility of a paradigm shift in perception of self, others and contested sites of encounter.

The OPEN ACTION collective is currently composed of five core performers, John G. Boehme, Judith Price, Grace Salez, Brenda Petays and Doug Jarvis, each with a long history of practice in the arts. They draw on disciplines that include visual arts, performance art, new media, video art, and audio art. Other Victoria and visiting artists who have participated in OPEN ACTION events include Valerie Salez, Tina Pearson, Fran Benton, Zoe Kreye, Will Thomas, Joni McManus, Tia Casper, Christine White, Clare Lannan and Jonathan Dowdall. The collective’s performance duration is typically between 1 and 3 hours. 

Performance sites have included shipyards, library courtyards, shopping plazas, boat launches, city parks, intersections, Legislature grounds, city bridges, urban alleys, Ogden Point Breakwater, Mount Ptols and Mt. Tolmie, cemetery, seminar rooms, corridors, public squares, city hall, art centres, putting greens and parking garages.

OPEN ACTION’s unexpected framing of space, time and context in a shared artistic response often generates conversation, artful participation and illumination for and from observers, whether casual or focused. It sometimes generates interest from site personnel, whose reactions and responses can become intertwined with the performance, adding layered realities, understandings and perhaps quick changes of location.

Facebook event: www.facebook.com/events/1236489566397677


10. CALL FOR SUBMISSIONS: Science Gallery / Blood
Deadline date: January 8, 2017; City: Melbourne, Australia; Source: LADA


BLOOD is the first cross-network season for Science Gallery, inspired by the original exhibition BLOOD: NOT FOR THE FAINT-HEARTED at Science Gallery Dublin in 2015.

Blood is essential for life, both medically and metaphorically. From ritual to research, artistic medium to biological fluid, the 2017 BLOOD season will evoke ideas that provoke and challenge, engage and entice. Crossing continents and connecting London and Melbourne through a public programme of events, activities, installations workshops and performances, the BLOOD season will feature a range of work from the original exhibition in Science Gallery Dublin, as well as exciting new provocative works and experiences that explore the scientific, symbolic and strange nature of blood.

BLOOD will run across both Science Gallery sites in London (on and around the Guy’s Campus, King’s College London) and Melbourne (at the University of Melbourne and CBD in Melbourne) between June–October 2017.

For our open call we’re interested in proposals addressing or exploring some of the following themes and topics:
–Taboo: surrounding menstruation, ritual behaviour or activities involving blood, food created from blood;
–Stigma: associated with living with blood borne viruses such as HIV, or other genetic conditions affecting blood;
–Giving: donating blood to strangers, placenta donation, the connection between a mother and foetus;
–Identity: blood type, associations with racial identity, mixed race, family, chimeras, human/animal hybrids, and eugenics;
–Health: diseases of the blood, immunity. Blood testing and the future of blood based testing etc.;
–Sport: Drugs and sport, blood doping.

What makes a good Science Gallery open call proposal?

We are especially looking for projects by artists, scientists, local residents and innovators that match Science Gallery’s three core aims: to Connect, Participate, and Surprise, and that are relevant to our core target audience of 15-25 year olds. We are interested in proposals for new or existing work that:
–Has a true connection to the theme (avoid shoehorning an unrelated work);
–Brings together art and science in a creative way (we generally avoid illustrations of science, or science that is evaluating art);
–Invites visitors to participate, create, and that stimulate debate;
–Are based on strong original ideas in any media;
–Raise questions about the nature of and public perceptions surrounding blood;
–We are interested in ideas that are specific to London and/ or Melbourne;
–Explore human’s scientific and social connections with blood

In general:
–A connection with our core target audience of 15-25 year olds is a factor in curatorial decisions;
–Defying categories is good (“it’s kind of a hybrid sculpture, event, installation-puzzle, with a crowd-sourced edible citizen-science archive, plus a performance component that will portray a speculative future organism…”);
–We like collaborations across different disciplines.

Ask questions! If you’re unsure about an aspect of your proposal, email hello@london.sciencegallery.com or info@melbourne.sciencegallery.com

For more information: https://opencall.sciencegallery.com/blood


11. PERFORMANCE: The Magic Hour by Jess Dobkin
Dates: January 10–21, 2017; City: Toronto, Canada; Source: Jess Dobkin

The Magic Hour by Jess Dobkin

The Theatre Centre, 1115 Queen St. West
January 10–21, 2017 (ASL interpreted performance on January 14)

The Magic Hour is a solo performance that uses magic to explore trauma and transformation, asking us to consider who we are beyond the stories we tell about our lives. The work presses the boundaries of what is deemed public and private, hidden and revealed, to make visible what is not seen.


Co-produced by The Theatre Centre and Jess Dobkin
Created and Performed by Jess Dobkin
Director: Stephen Lawson
Lighting Co-Designers: Jennifer Tipton and Michelle Ramsay
Sound Designer: Richard Feren
Costume Designer: Atom Cianfarani
Environment Designer: Bojana Stancic
Production Manager: Sandra Henderson
Stage Manager: Laura Cournoyea
Consultants: Dany Lyne, Brandie Taylor, Tracy Tidwell
Photography: David Hawe
Graphic Design: Lisa Kiss

Performance Dates
Tuesday, January 10 @ 8:00pm (Preview Performance)
Wednesday, January 11 @ 8:00pm (Opening Night)
Thursday, January 12 @ 8:00pm
Friday, January 13 @ 8:00pm (ASL interpreted performance)
Saturday, January 14 @ 8:00pm
Sunday, January 15 @ 2:00pm
Tuesday, January 17
@ 8:00pm
Wednesday, January 18
@ 8:00pm
Thursday, January 19
@ 8:00pm
Friday, January 20
@ 8:00pm
Saturday, January 21
@ 8:00pm

Facebook: www.facebook.com/events/217966628639674#MagicHourTC

The Magic Hour was developed in Residency at The Theatre Centre. Residency is made possible by Lead Sponsor BMO Financial Group, and with the support of The J.P. Bickell Foundation.

Tickets for the performance are now on sale through The Theatre Centre Box Office. Seating is limited (only 40 seats each night) so book your tickets early!

Tickets: Preview $17 | Regular $30 | Student/senior/arts worker $22
Service charges may apply
Purchase online: https://tickets.theatrecentre.org/TheatreManager/1/login?event=170
Call to book: 416-538-0988

The Theatre Centre is a nationally recognized live-arts incubator that serves as a research and development hub for the cultural sector. We are a public space, open and accessible to the people of our community, where citizens can imagine, debate, celebrate, protest, unite and be responsible for inventing the future. The Theatre Centre’s mission is to nurture artists, invest in ideas and champion new work and new ways of working. The company fosters a culture of innovation by embracing risk and questioning traditional notions of failure and success.



12. CALL FOR PROPOSALS: Global Performance Studies Issue 1.2 “Performance Climates”
Deadline date: January 15, 2017; City: the world; Source: PSi

Performance Studies international conference #22 was held in Melbourne, Australia during the summer of 2016. The theme of the conference was "Performance Climates." Scholarship and creative work by hundreds of scholars and artists explored how performance creates, illuminates, and participates in climates of all scales and compositions. For the second issue of GPS, we are soliciting proposals for projects related to the theme of Performance Climates.

Proposals for articles / projects due by January 15th, 2017.
Submission of full accepted articles / projects due by March 15th, 2017.

Potential subjects include (but are not limited to):

–What are climates in, of, and for performance?
–In what way do climates perform?
–In what ways do cultural and performance practices create climates?
–In what ways can Performance Studies intervene in climate change?
–How might Performance Studies provoke changes to public policy, governance, technology, and economics in order to effect protections of fragile environments?
–How do performances in everyday life relate to climates within interpersonal, interspecies, and environmental interactions?
–How can Performance Studies adapt to new conditions, institutional frameworks, and localized challenges, while undergoing its own global transformations?
–How do debates within Performance Studies over biodiversity, energy use, land custodianship, resource extraction bear directly on the World’s populations?
–How did work presented at PSi #22 respond to the conference structure: Weather and Events, Land and Durations, Habitat and Environments, Atmosphere and Affects?

GPS seeks proposals for content in these areas (we encourage projects with supplemental content in multiple categories):

–Scholarly Articles
–Critical and analytical essays, position papers, manifestos.
–Artistic Content
–Performance texts, scores, scripts, digital art, recordings of performances.
–Performance reviews, book reviews, reviews of digital resources, reviews of digital work.
–Digital Video
–Video essays, short documentaries, interviews.
–Digital Audio
–Audio papers, podcasts, interviews.
–Digital Images
–Photo essays.

Supplementary Digital Content: Web based submissions, graphics, animations, maps, data visualizations, curated archives, lexicons, annotations, ethnographic notes, games, and supplemental video, audio, and images.
Note: supplementary digital content should be carefully curated and associated with a proposal of a scholarly and/or artistic project.

Requirements for Proposals*:
Proposals for full-length articles: 500-word (max) abstract
Proposals for media projects: 500-word (max) abstract
Proposals for reviews: 250-word (max) abstract

*For articles or reviews that involve supplemental media please include an additional 100-word (max) description of the scope, purpose, and format of the associated media. Please do not send media files with any proposal. Examples of media may be solicited as needed.

About GPS
GPS Journal is a peer reviewed, online, interdisciplinary academic journal published under the auspices of Performance Studies international (PSi). GPS provides a publication platform and resources for artists and scholars engaged in performance and performance studies. We seek work that goes beyond traditional, text-centric models of research, using cross-platform and supplemental media, video, and audio recordings. GPS aims to create and utilize digital methods of publishing as a method for disrupting and intervening in centralized, culturally specific discourses.
Please send submissions and questions to:
Dr. Kevin Brown (Editor, GPS Journal) at brownkevin@missouri.edu



13. CALL FOR ARTISTS: Community Arts Project for Asylum Seekers
Deadline date: January 15, 2017; City: Kuopio, Finland; Source: ANTI

The 16th edition of ANTI – Contemporary Art Festival will take place between 18th and 24th September 2017 in Kuopio, Finland. We are now looking for 1-2 artists, living and working in Finland, to lead a community arts project and create a site-specific artwork to be presented at the festival.

Both existing working groups or individual artists may submit application. We are, particularly, interested in artists experienced working with multicultural communities.

The project is a part of the New Start Finland! research project at the University of Eastern Finland. New Start Finland! is researching ways to promote health, wellbeing and integration of adult asylum seekers. Both granted asylum seekers and Finnish in origin (male, aged 18-29) will be invited to participate in ANTI Festival’s project. The artists are expected to commit to the aims of the New Start Finland! research project and to:–lead up to 12 workshops for the target groups between April and October 2017;
–create, direct, present a community artwork at ANTI – Contemporary Art Festival in 2017;
–keep a work diary;
–assist the researchers in implementing surveys;
–take part in the project evaluation in collaboration with the researchers and ANTI Festival.

This is a project work between 1st March and 31st November 2017, equivalent of around 2 months full-time job. The project fee is around 4 000 €/artist, and the working schedule will be negotiated individually. The working languages are English and Finnish.

All proposals must be sent using this electronic form and written in English. The proposal deadline is January 15, 2017.

The form allows a link to be made to online documentation of previous work and for applicants to attach a CV and a supporting document or images. Proposals that do not strictly conform to these guidelines will not be considered.

We advice the applicants to get familiar with the artistic direction of ANTI Festival by reviewing our past projects on, for example, our Vimeo page! Further information: Festival Manager Elisa Itkonen: elisa@antifestival.com

ANTI – Contemporary Art Festival
Participation, dialogue and exchange: ANTI works with innovative artists on projects that explore and explode urban space. ANTI began life in 2002. Since then we’ve produced 15 editions of ANTI – Contemporary Art Festival and have established a year-round programme of artist residencies and cultural projects and events. Held annually in Kuopio, Finland, the city hosts the festival, projects by artists from around the world inhabit the spaces of public life – homes, shops, city squares, business, forests, lakes – and directly engage communities and audiences in the making and showing of their work. The festival is free to attend.



14. RESIDENCY PROGRAM: Luminous Bodies
Deadline date: January 16, 2017; City: Toronto,Canada; Source: Luminous Bodies

Programmed Art Residency
Artscape Gibraltar Point, Toronto Island, Canada
Program Dates: July 4–17, 2017

Deadline extended: January 16, 2017

Luminous Bodies is a two-week residency to create artworks that shed new light on the human body. Its objective is to challenge “normativity” and Otherness. Its goal is to reinvent and re-present the body in most inclusive and diverse ways. Resident artist talks, gallery tours, visual and textual references, guest artist talks, and regular critiques (individual with Facilitator and group critiques) help uncover how our bodies are culturally and aesthetically constructed, displayed and controlled. Residents work individually or collaboratively to create artworks that reinvent the body through media of their choice, such as photography, video, installation, drawing, painting, performance, installation, sound art, media art, etc. There will be a closing exhibition of artworks created during the residency (if preferred, artists may show in open studio fashion). The essence of Luminous Bodies is about bringing to light heterogeneous bodies. It welcomes people in all walks of life into a creative journey of critical innovation and self-discovery. People with disabilities, people of colour and diverse gender identifications are encouraged to apply. 

AGP (Artscape Gibraltar Point) is an artist retreat nestled against the magnificent natural backdrop of Toronto Island. It offers a distraction-free environment to focus on art creation, and a rich potential for the creation of corporeal artworks amongst its blue-flag beaches (one of them being clothing optional) and natural surroundings of Lake Ontario, forests and gardens filled with flowers, fruit and vegetables. On the island, there are tiny quaint homes, a historic lighthouse, a hobby farm and antique carnival grounds. Cozy up in a furnished studio and bedroom, and enjoy amenities such as a fully equipped common kitchen, shared bathrooms, laundry facilities and wireless Internet. AGP is a barrier free and inclusive environment. The Toronto city core is just a 15-minute ferry ride away. 

For details and to apply visit:


15. EVENT: Bridget Moser performs at PuSh Festival
Date: January 21, 2017; City: Vancouver, Canada; Source: Push Festival

Things a Person is Supposed to Wonder
By Bridget Moser

January 21, 2017 @ 9:00pm
The Fox Cabaret, 2321 Main Street, Vancouver

Tickets: $22 | Buy tickets via Ticketfly (www.ticketfly.com/venue/19617) or call the box office at 604-449-6000

Bridget Moser presents a compendium of her brilliant performance art. This evening of short performances created over the past three years is whimsical and incisive in equal measure. Moser’s work employs props, jokes and music in the service of conveying the profound. You could label what she does stand-up comedy, whimsical poetry or just plain unclassifiable, but any way you slice it she’s a great entertainer.

Selected in 2015 for an emerging artist prize by Daina Augaitis, chief curator and associate director of the Vancouver Art Gallery, Moser is making waves in art circles across Canada and Europe.

“… attempting to build a ‘better way’ to engage with art by covering as much ground as possible, Moser reaches out to us from her own specific—funny, awkward and ultimately relatable—vantage point.” —Canadian Art

PuSh Festival
The PuSh International Performing Arts Festival is one of Vancouver’s signature events. Produced over three weeks each January, the PuSh Festival presents groundbreaking work in the live performing arts. The PuSh Festival expands the horizons of Vancouver artists and audiences with work that is visionary, genre-bending, multi-disciplined, startling and original. The Festival showcases acclaimed international, Canadian and local artists and mixes them together with an alchemy that inspires audiences, rejuvenates artists, stimulates the industry and forges productive relationships around the globe. The Festival is a broker of international partnerships, a meeting place for creative minds, a showcase of Canada’s best and an incubator of brilliant new work.

PuSh International Performing Arts Festival
January 16–February 5, 2017


16. EVENT: Duration & Dialogue II
Dates: January 27–29, 2017; City: Toronto, Canada; Source: D&D

Duration & Dialogue II
Curated by Natasha Bailey, Dario Del Degan, Johannes Zits
January 27–29, 2017

86 Miller Street, Toronto
Admission: $10 per day / $15 for a weekend festival pass

Advanced tickets can be purchased through Universe:

Join us for the weekend of January 27, 28, 29 for Duration & Dialogue II – a festival of durational performance art (both live and streamed) and moderated dialogues.

This year’s live lineup is:
Friday, January 27 from 5pm to 8pm – Jon Sasaki
Saturday, January 28 from 11am to 5pm – lo bil
Saturday, January 28 from 6pm to 8pm – Clayton Lee
Sunday, January 29 from 1pm to 4pm – Julie Lassonde
Sunday, January 29 from 5pm to 7pm – Jenn Goodwin

This year’s streamed lineup includes: Marita Bullmann (DEU), Jeffery Byrd (USA), Patrick S. Ford (HKG), Stéphanie Beaulieu & Julie Laurin (CAN), and others …



17. CALL FOR SUBMISSIONS: Festival of Queer Performance
Deadline date: February 1 & April 1, 2017; City: Regina, Canada; Source: QCC

QCC Inc. presents one festival annually–a combination of Queer City Cinema Film Festival and Performatorium: Festival of Queer Performance

Queer City Cinema 14 and Performatorium 6: September 19–23, 2017

ABOUT PERFORMATORIUM: Festival of Queer Performance
Performatorium festival of live performance by international, national and local performance artists. Performatorium continues the exploration of performance as another means from which to gather insight and appreciation of queer art and queer artists. Performatorium, for now, utilizes a theme or focus which helps to create a shared space of exploration and underlines connections and considerations created by the curatorial premise or theme. Performatorium 2017 will turn to popular culture for its inspiration. Artists who utilize and critique aspects of social and unsocial media, conventional media, celebrity, fame, aspiration, popularity and entertainment will be presented.

Performatorium: Festival of Queer Performance: February 1, 2017

Queer City Cinema Film Festival is comprised of international, national and local film. Film programming seeks to include screenings with Aboriginal/First Nations, Trans* and queer youth content. Dramatic shorts, docs, animation and experimental works are screened that continue a legacy of breaking down barriers–representing daring and unchartered visual territory, humorous and subversive characters, otherworldly and fantastical places and images, pleasurable provocations, and challenging and insightful perspectives on identity in a world all to ready to oppose and oppress.

Public Engagement Activities for both festivals include: artist presentations at the University of Regina; radio shows; workshops; and Perforum: round table discussion.

Works in Queer City Cinema Film Festival and Performatorium: Festival of Queer Performance act as a means to express and playfully analyze subjects that include–but are not limited to– gender, the body, sexuality, identity and the creative process itself.

Queer City Cinema Film Festival: April 1, 2017

For more information about QCC: www.queercitycinema.ca


18. PUBLICATION: Viz. Inter-Arts: Interventions
Date: unspecified; City: the world; Source: Natalie Loveless

Viz. Inter-Arts: Interventions
Roxanne Power, Editor

Pub Date:4/21/2016
Publisher: Viz. Inter-Arts
Product Number: 9780978621520
ISBN978-0-978-62152-0SKU #: E14C
Pages: 320
Weight: 2 lbs.11 oz.
Quantity Available: 48
Price: $ 32.00

Art. Hybrid Genre. Collaboration. Poetry. Fiction. Film. Drama. Literary Nonfiction. Social Practice & Activism. Environmental Studies. 

To order: www.spdbooks.org/Products/9780978621520/viz-interarts-interventions.aspx

VIZ. INTER- ARTS: INTERVENTIONS is the newest anthology within the trans-genre series published at UC Santa Cruz. Focusing on art and social practice, this large, arty book with color pages features a range of art-life performers and writers—Reverend Billy, Linda Montano, Guillermo Gomez-Pena, The Yes Men, Martha Rosler—whose art interventions address environmental, economic, racial, and sexual injustice in public spaces. Others enact genre interventions (Neo-Benshi performers) or innovate new forms in the spirit of Black Mountain College (M. NourbeSe Philip, Amaranth Borsuk, and ecopoetics artists CAConrad and Brenda Iijima). Some collaborate—Ben and Sandra Doller, Charles Bernstein and Susan Bee—on visual-poetic forms, and others—C.S. Giscombe, Juliana Spahr, Rodrigo Toscano, Vincent Katz, and Judith Goldman—write essays appropriate for college courses within the arts, literature, creative writing, new media, and social sciences. The first edition, EVENT, won a 2008 Independent Publishing Award (IPPY). 

Peek inside: www.spdbooks.org/Content/Site106/FilesSamples/9780978621520.pdf


19. PUBLICATION: Ritual Body-Political Body (II Venice Performance Art Week)
Date: unspecified; City: the world; Source: VestAndPage

II Venice International Performance Art Week 2014: Ritual Body - Political Body
Limited edition | Exhibition catalogue

With documentation of the works presented at the II Venice International Performance Art Week 2014: Ritual Body - Political Body:

Vito Acconci, Joseph Beuys, Chris Burden, Carolee Schneemann, Allen Ginsberg, Gina Pane, Tehching Hsieh, Ulay, Pedro Reyes, Waldo Bien, Gerry Schum, Tania Bruguera, Terry Fox, Regina José Galindo, Alain Arias-Misson, Marilyn Arsem, Elias Adasme, Andrigo & Aliprandi, Richard Ashrowan, Jelili Atiku, Adina Bar-On, Artur Barrio, Bean, Paulo Bruscky, Barbara Campbell, Shannon Cochrane, Angel Delgado, El Siluetazo, Norma Flores, Melissa García Aguirre, Guillermo Giampietro, Arti Grabowski, Andrea Hackl, Zhang Huan, Waldemar Januszczak, Enrique Ježik, Sandra Johnston, Norbert Klassen, Zai Kuning, La Pocha Nostra, Sigalit Landau, Legend Lin Dance Theatre, Juan Loyola, Alastair MacLennan, Gastão de Magalhães, Âhasiw Maskêgon-Iskwêw, Jill McDermid, Boris Nieslony & Gerhard Dirmoser, Sarah-Jane Norman, Clemente Padin, Leticia Parente, Vela Phelan, Bob Raymond, Martin Renteria, Rong Rong, Olivier de Sagazan, Inder Salim, Rosemberg Sandoval, Benjamin Sebastian, Gianni Emilio Simonetti, Terry Smith, Adrian Stimson, VestAndPage, Alice Vogler, Julie Vulcan, Paul Wong, Wen Yau, David Dalla Venezia | ART WEEK FRINGE.

Guillermo Gómez-Peña, “In Defense Of Performance”
Arantxa Echarte, “Performances As Storytelling And Ritual”
Enrico Pastore, “Short Story Around A Dream”
Francesco Kiais, “Social Carnal Love – The Intermediary Body And The Polis”
Oleksii Polegkyi, “Ritual Body – Political Body”
Andrea Pagnes, “On Performance Art, The Body And The Political”
Ilija Šoškić, “TRACTATUS”
Tania Bruguera, “Manifesto On Artists’ Rights”

In occasion of the concluding third ART WEEK edition 2016, we have launched the limited edition post-event catalogue of the previous second edition 2014:

Following the first edition "Hybrid Body - Poetic Body" that took place in December 2012 at Palazzo Bembo, the II VENICE INTERNATIONAL PERFORMANCE ART WEEK took place at Palazzo Mora in Venice, December 13-20, 2014 under the focus "Ritual Body - Political Body". The live art exhibition project dedicated to contemporary performance art showcased in its second edition works of over 50 international performance artists from around the globe, some of which presented in cooperation with cultural institutions and foundations. Pioneers of this art discipline exhibited alongside established and emerging artists, reflecting influences and current tendencies in the field. The project consisted of a vibrant program of live performances, installations, photographic and video documentation, conferences, daily round tables talks, a Study Room, a Movie Room and meetings with the participating artists, researchers and curators.

The VENICE INTERNATIONAL PERFORMANCE ART WEEK is the live art exhibition project conceived, Initiated and curated by artist duo VestAndPage and organised in collaboration with Studio Contemporaneo, Venice Open Gates, We Exhibit, Live Arts Cultures and European Cultural Centre | GAA Foundation.

The publication is now available for online order from VestAndPage press at

Limited edition post-event exhibition catalogue
Venice: VestAndPage press, 2016
Hardcover, pp. 208, 20 x 13 cm, 134 colour images, 40.- Euro
Printed in a limited edition of 300

More information about the VestAndPage project VENICE INTERNATIONAL PERFORMANCE ART WEEK on www.veniceperformanceart.org


Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.

445-401 Richmond Street West, Toronto, Canada M5V 3A8

FADO on Instagram: @fadoperformanceartcentre
FADO on Twitter: @FADOperformance
FADO on Facebook: FADO Performance Art Centre

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